Founded in 2011 by Frédéric Blondy, Onceim (Orchestre de Nouvelles Créations, Expérimentations et Improvisations Musicales) is a 30+-piece ensemble, which performs both collective improvisations (under the title «Laminaire») and new music compositions written especially for the ensemble.
Onceim has interpreted pieces by Patricia Bosshard, John Tilbury, Deborah Walker, Eliane Radigue, Jérôme Noetinger, Pierre-Antoine Badaroux, Stephen O’Malley, Arnaud Rivière, Bertrand Denzler, Jean-Sébastien Mariage, Sébastien Beliah and Frédéric Blondy.
Onceim has played dozens of concerts in France, Switzerland, Denmark, Sweden, Poland and Italy.
The strings of the Onceim perform under the name CoÔ, an ensemble led by Félicie Bazelaire with Félicie Bazelaire, Sebastien Beliah, Patricia Bosshard, Cyprien Busolini, Benjamin Duboc, Elodie Gaudet, Fred Marty, Anaïs Moreau, Julia Robert and Deborah Walker.
CoÔ has performed pieces by Patricia Bosshard, Bertrand Denzler and Hannes Lingens.
Festivals, Series and Venues (selection)
Eglise Saint-Merry (Paris), Atelier Tampon (Paris), Studio Venezia, Biennale (Venice), Mózg Festival (Bydgoszcz), Sacrum Profanum (Krakow), Crak (Paris), Météo (Mulhouse), Edition (Stockholm), Vinterjazz (Copenhagen), Mac Val (Vitry), Insub (Genève), Fondation Cartier (Paris), Densités (Fresnes-en-Woëvre), L’Archipel (Paris), A L’Improviste/Radio-France (Paris)
Tenor saxophonist Bertrand Denzler’s composition for Paris’ ONCEIM ensemble is a hypnotic, structured drone that transforms the entire group into a solid mass of tremulous polyphony.
– Ken Waxman, The Whole Note
If the locale weren’t already a church, Morph suggests one coming into being, a cathedral of sound in which individual instruments’ sonic identities again drop away, now in the construction of walls of teeming sound, much as they do in Terry Riley’s In C (or in the parallel contemporary work of the Swiss Insub Meta Orchestra’s, Archive #2 [insub.org/orchestra]), but they’re walls teeming with detail, vibrating with their own life and consciousness coming into being.
– Stuart Broomer, Point Of Departure
"Morph", the piece played by ONCEIM, is one large, wooly mass. It doesn't float, it sits there and seethes. The sensation one gets is of a single, unvarying entity but, like most such creatures, it's comprised of multiple strands. Long held notes, generally low in pitch and fairly loud are the rule, instruments entering and exiting the pulsating sound-organism, perhaps just slightly varying their tone. A spine of low percussion (soft mallets) and throbbing feedback underlie the skein of strings and horns atop. Work like Feldman's "For Samuel Beckett" are a likely reference point, but Denzler's piece is darker, even cynical, honing in on some unseen node, gouging out the space like some huge, sonic drill. It proceeds unabated until it's finished, vanishing suddenly, leaving an empty hole. Impressive work.
– Brian Olewnick, Just Outside
The way Morph is structured is probably achieved more by written prose instructions than by scored notes on a stave, and the musicians are given specific directions within a very tight musical ring-fence which permits very little free movement. Yet they have to keep the drone moving somehow. It sounds like hard work, doesn’t it? ONCEIM not only deliver themselves of that strenuous task, but they also produce a very rewarding low bee-buzz drone for thirty mins, enriched with a complexity of acoustic detail that you could never get through digital means, not even with a million laptops all piled up in a skip (the best place for them, I find).
– Ed Pinsent, The Sound Projector
Stellt euch eine Kugel vor, deren Umfang gegen unendlich tendiert. Die Dauer und Stabilität des Haltetons hängt nicht von einzelnen Arm- und Atemzügen ab, eher schon von der eigenen Wahrnehmung, der mitten in diesem Ein-Klang Raum- und Zeitmaß abhanden kommen. Dröhnt das jetzt schneller, oder nur heller? Oder kommt es mir nur so vor, so psychedelisiert und benommen ich längst bin?
– Rigobert Dittmann, Bad Alchemy